Alrowwad has perfromed it's theatre and dance shows with the "We are the Children of the camp" and "Blame the Wolf" plays in Cambridge, Boston, Brookline, Cape Cod at Payomet Theatre, Old Lyme-Connecticut, Glover-Vermont at "Bread and Puppets" and in the Atlantic Theatre in Manhattan - New York.
My interview at Grit's TV in New York
Alrowwad: Blame The Wolf, performed at the Atlantic Theatre in New York
By: GRITtv Friday August 14, 2009 9:00 am
Blame the Wolf, a provocative play performed by the Al Rowwad Palestinian youth theater group, revisits the story of Little Red Riding Hood. But this time there’s a twist. As the trial unfolds, is the wolf really the one to blame? Dr. Abdel Fattah Abu-Srour, founder and director of the Al Rowwad in the Aida Refugee Camp in the West Bank, says that theater is a way of exploring and challenging the world we live in, the stereotypes and prejudices that often shape the way we see others. He’s joined by Kathleen Chalfant, an Emmy award winning actor and supporter of the center. A few months ago, Chalfant read from Caryl Churchill’s new play Seven Jewish Children right here at GRITtv.
Alrowwad on Youtube:Theatre
1. Excerpts from the play “We are the children of the Camp” in France
http://www.youtube.com/watch?v=Chm5qEmG_LU
2. Excerpts from the play : Blame the Wolf (Tour in France and Belgium in 2008) http://www.youtube.com/watch?v=YOCc5d3Hsnw
3. Excerpts from Alrowwad theatre play “Hanzala”
http://www.youtube.com/watch?v=nvTkIyvM0IQ
4. Alrowwad Performance for the Pope Benedict VI in Aida Camp - Palestine http://www.youtube.com/watch?v=TmbNTIyIZNI
Video
5. Bethlehem Checkpoint at 4 a.m, Alrowwad production
http://www.youtube.com/watch?v=d1FaWE1SIZk
6. Carried by the Wind: http://www.youtube.com/watch?v=008p-_LePrg
7. Opening ceremony of the Alrowwad Second Outdoor Film Festival http://www.youtube.com/watch?v=60KCHvWU8K4&feature=related
8.Closing ceremony of Alrowwad Second Outdoor Film Festival http://www.youtube.com/watch?v=En3d5Qtxupk
9. Beautiful Resistance : http://www.youtube.com/watch?v=WR8izNtdI1Y
Photography
10. Excerpts from the photo exhibitions of Images for Life program (US) http://www.youtube.com/watch?v=jmI_YMrQdgQ
http://www.youtube.com/watch?v=LfWgFAEGVGU&feature=related
11. Final exhibition "Us" Images for Life/Alrowwad Center
http://picasaweb.google.com/imagesforlife/FinalExhibitionUsImagesForLifeAlRowwadCenter?authkey=Gv1sRgCKbSqvbZz-DS2QE&feat=directlink
12. http://picasaweb.google.com/imagesforlife/ASDIP?feat=directlink
13. "Us" photo exhibition life stories "
http://picasaweb.google.com/imagesforlife/UsPhotoExhibitionLifeStories?authkey=Gv1sRgCMuIrYXe_O3AIQ&feat=directlink
14.Look who we are (2008) http://picasaweb.google.com/imagesforlife/Images2008?authkey=Gv1sRgCMnd_5id9aThiQE&feat=directlink
15.Who am I? Palestine throw Palestinian eyes(2009)
http://picasaweb.google.com/imagesforlife/AlRowwadPhotoExhibition2009?feat=directlink
Other interviews:
16. Interviews on TV during Theatre tour in the US, July 18th, 2009: part 1: http://www.youtube.com/watch?v=Kn-NxwNguvA
Part 2: http://www.youtube.com/watch?v=_B9KuMy_aRw&feature=related
Part 3: http://www.youtube.com/watch?v=-PhIwouS8nk&feature=related
17. Interview at Grit TV in New York, July 26th 2009 http://lauraflanders.firedoglake.com/2009/08/14/al-rowwad-blame-the-wolf/
18. Choir songs during Alrowwad theatre and dance tour in France and Belgium in June-July, 2008: http://www.dailymotion.com/video/x658lj_al-rowwad-001_creation
19. US theatre tour in 2005: Interview with founder Abdelfattah Abusrour: http://video.google.com/videoplay?docid=3185079474247239155&ei=9L2NSr_qE6Wu2wLtqfG9DQ&q=rowwad
20. Folkdance of Alrowwad troupe during the tour in France and Belgium, summer 2008: http://www.dailymotion.com/video/x659pv_al-rowwad-009_creation
21. Ishtar library-Paris – France:
1. http://www.dailymotion.com/video/x89g0r_palestine-resistance-et-desinformat_news?from=rss
2. http://www.dailymotion.com/related/x89g0r/video/x8a6vo_palestine-resistance-et-desinformat_news
27 June, 2009
Australian Prime Minister Deputy visit to Aida Camp
قامت نائبة رئيس الوزراء الاسترالي بزيارة مخيم عايدة يوم 26 حزيران 2009، حيث بدأت الزيارة بمدرسة ذكور عايدة الاساسية بمرافقة المفوض العام لوكالة الغوث الدولية)الاونروا) كارين ابوزيد. وقد استقبلها وفد من اللجنة الشعبية في مخيم عايدة عدنان عجارمة وسمير عودة، ورئيس مركز الرواد د. عبدالفتاح ابوسرور
وقد زارت ايضا منزلا لعائلة ذات وضع مأساوي في المخيم
The Australian Prime Minister Deputy has visited Aida camp on June 26th, 2009. She started the visit in Aida boys basic school, accomapnied by the High UNRWA Commissioner in Palestine, madam Karin AbuZayd. She was also received in the camp by the Popular Committee Members Adnan Ajarma and Samir Odah, as well as by ALrowwad Culturla and Theatre SOciety, Dr. Abdelfattah Abusrour. The delegation has visited a social hardship case in the camp as well.
Alrowwad Theatre Tour in the USA
AlRowwad Tour Schedule - Summer 2009
(Friday, July 3 - arrival Dr. Abusrour and 2 children Hala A. S. Ramadan and Kanan Abdel Fattah a. Abusrour
Sunday July 5- July 17 – Circus Smirkus Camp for 2 youth
Wednesday, July 8th – workshop led by Dr. AbusRour and evening talk at Lesley University)
Thursday, July 9-Saturday July 18th – Boston/Cambridge
Thursday, July 9– troupe and chaperone arrival Boston Air France from Jordan (1:45 AM #AF 587 –ARR 3:05 PM)
Gathering place with welcome from Cambridge Mayor Denise Simmons )–
Pick up by host families in Cambridge, Brookline, Boston areas.
Friday – Orientation
Red Sox game?
Saturday night, July 11 – Dinner and Evening Performance - Palestine Cultural Center , Allston (Omar Baddar)
Sunday, July 12 – 11:30-12:30 First Church Harvard Square (Gay Harter)
Monday- Thursday July 13-16
Daily Workshop with Underground Railway Theater (URT) (1-6 each day)
Tuesday, July 14th –
AM – Duck tour or Charles River Tour – Marjorie Decker (or Monday)
6-8 PM – Dinner, short performance and discussion with Workmen’s Circle Shule – (Stan Habib)
Wednesday , July 15th –
9:30 AM – Cambridge City Council breakfast/reception- Marjorie Decker
7-9:30 –performance with youth groups in Boston area- Blackstone School - Critical Breakdown (Eric Wissa)
Thursday, July 16th – evening B-B-Q with host families ?
Additional meetings, venues, receptions
Friday 17th –
Museum of Natural History?
day preparation for performance
Area 4 Youth exchange
5:30 and 8 PM – Full Performances– Central Sq. Theater
REMINDER THAT FROM THE 17TH ON , THE GROUP WILL BE 16 PEOPLE PLUS ANY OF US .
Saturday, July 18th - Monday, July 20th – Canaan, Connecticut (driver Rick) 2 hours 3/4
Saturday, July 18th morning - leave Boston for Canaan , CT
Sunday, July 19th - afternoon performance in Lyme
Monday- Thursday 23rd – Wellfleet, Cape Cod
Monday, July 20th
-leave CT for Cape Cod (Catherine – driver) 4 ½ hours
4-6 PM Wellfleet Library – sponsored by library and WILPF
Tuesday 5 PM – full performance at Payomet Theater
Wednesday – possible evening pot-luck
Thursday – July 23rd –Sunday July 26th Bread and Puppet Theater, Glover, VT
Thursday AM –leave Cape and drive to Glover (driver Rick?) 5 ½ hours
Friday , July 24th – see Bread and Puppet performance
Saturday 25th – Evening performance by Al-Rowwad
Sunday 26th – early departure to Boston (driver- Rick) 3 ½ hours
Sunday July 26th –Wednesday 29th – NYC , New York
Sunday 26th afternoon to NYC public bus
Monday, July 27th – Evening performance at the Atlantic Theatre
exchanges and meetings with other theaters. Tony Kushner. Visit city
Wednesday July 29th morning return to Boston public bus
Fly out evening of July 29th – Air France to Jordan #321 10:50 PM)
Opening of Mobile Beautiful Resistance
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ندعوكم لأفتتاح فعاليات برنامجنا "المقاومة الجميلة الجوالة" بالشراكة مع مبادرة الشيخ جواهر بنت محمد القاسمي "سلام يا صغار"
آمل ان نراكم بيننا في مركز الفنيق - مخيم الدهيشة بتاريخ 30 حزيران 2009الساعة العاشرة صباحا
مع تحيات فريق المقاومة الجميلة.
We invite you to the opening of our program "Mobile Beautiful Resistance", in partnership with Shiekha Jawaher Bint Mohammad Alqasimi initiative "Salam Ya Seghar", at Alfeniq center in Dehiesha camp, on June 30th, 2009 at 10 a.m., under the patronage of The Governor of Bethlehem Mr. Abdelfattah Hamayel
24 March, 2009
How Palestine Became Israel - Deir Yassin Day 2006
With but a wave of his hand…
How Palestine Became Israel - Deir Yassin Day 2006
Bloomsbury Theatre – Sunday April 9th /Monday April 10th
By Paul Eisen
How Palestine Became Israel, part of the Deir Yassin Day 2006 commemorations, was performed at the Bloomsbury Theatre in London’s West End on 9-10 April, and directed by British-Palestinian playwright/director Razanne Carmey and Dan Coleman.
Carmey traveled to Palestine to meet theatre groups from towns, cities and refugee camps, and to run a playwrights’ competition, the winner’s work to be showcased at DYD 2006.
How Palestine Became Israel was a compilation of four pieces: In Our Own Little World and Friday Morning by Carmey, The Water Urn by Issa Abu Srour, and Far Away from a Nearby Village by Abdel Fattah Abu Srour, who won the playwrights competition.
The production opened to a packed house with Ahmad Masoud and the al-Zaytouna Dabke Group but then, somewhat primed for a nostalgic evening of song and dance, we heard a little more than we had bargained for:
Ladies and Gentlemen, the members of the Al-Zaytouna Dance Group are from Brouj, Majdal, Deir Snaind and Jaffa but they have never been there. They were born and raised in refugee camps in the Gaza Strip. The reason for this is that their country no longer exists. This is what happened.”
With a call to prayer this story begins. So much of this piece takes place in that hour before dawn. In that hour, members of the family from the Palestinian village of Sindyana reflect on their lives and loves – the joys and sorrows of family life whilst at that same hour, on the other side of the stage the Zionist leadership plans and plots to steal the land. Zionists pore over maps of Palestine and, focussing on the Haifa district, they discuss the village of Sindyana – its past, present and its future and they fix on a name more suitable for that future. Sindyana, they discover, means ‘tall oak tree’ which in Hebrew is alon, so why not call the new village Alona?
Meanwhile, at the other end of the stage, Maleeha, a Palestinian mother writes to her son, oblivious of the tragedy about to overtake her. And not once does either side look at the other – not even a glance as the Jews, seemingly oblivious of the horror they are about to do and the Palestinians, equally oblivious of the horror about to be done, both go about their business. Thus was Palestine lost.
All this is given hard-edged backing as maps and plans on the one side (we see on the map that ominous transformation of the name Sandyana into Alona) and family snapshots and letters on the other are, by projected images, shared with the audience.
“Don’t talk to me about your father” writes Maleeha and soon her no-good, lute-playing husband appears played by Palestinian composer and lutist Nizar Issa who, with singer/songwriter Shadia Mansour charts this narrative with music and song woven intricately into the storyline. The songs are a treat: Assmar el Lone (For She is Dark and Comely) Rosana-(a love song), another song of the ubiquitous cactus of Palestine which, even when cut, will always return, the songs Jaffra and Dalouna, and finally the oft-repeated Wain A Ramallah. But it is with the entrance of David Ben-Gurion that this production first goes up a notch.
Immaculately played as an irascible and hyperactive trades union official who, having abandoned his Jewish god and now worshipping a new deity – a god of Socialism, collectivism and Zionism, Ben-Gurion is a man who ‘knows’. He ‘knows’ what is best for the workers of the world, he ‘knows’ what is best for the Jews of Europe and he certainly ‘knows’ what is best for the Palestinians of Palestine.
Nor need there be any moral obstacles to the Zionist takeover.
Zionism must and will not impinge upon one degree of legitimate Arab rights.
… We do not recognise absolute ownership of any country. The only right by which a people can claim to possess a land is the right conferred by willingness to work. Palestine is still undeveloped… Since the Jewish labourer is more intelligent and more diligent than the Arab, then the land is ours.
How convenient, because in this beautifully drawn character of Ben-Gurion we see the whole semi-conscious, self-delusional morality of the entire Zionist enterprise … and its inevitable moral collapse.
Act one closes and the darkness looms. A young wife bewails her miscarriages whilst Ben-Gurion and his comrades bemoan that, after nearly sixty years of building the Jewish state, the Jews are simply not coming.
Where are the Jews? Where are the Jews? Why don’t they come? We’re creating a Utopia here! Where are the Jews?
The hard truth is that in order to secure the necessary two-thirds Jewish majority they need to lose one million Palestinians, but how?
Don’t be coy. We all know what must be done… We need a few massacres – highly publicised, newspapers with stories of death, rape and burning. As soon as you shoot a few in the village square – that’s how you empty a village.
Perfect. And, best of all, no-one’s morality need be compromised.
No-one needs to give the order. When the soldiers are hot enough there is no need to give an order.
So now massacre is the order of the day. Friday Morning, scripted by Razanne was first performed five years ago at Deir Yassin Day 2001. Set in the village of Deir Yassin itself, a father is led outside his home to be shot whilst his wife and child sing Wain A Ramallah to drown out the sounds of his execution.
Shocked, we prepare for the climax: an animated image of the march of ethnic cleansing across the map of Palestine. As the map steadily turns pink, Arab Palestine transforms itself into Jewish Israel, accompanied all the time by flashing pinpoints of light – each of the seventy known massacres making its own special contribution to turning Palestine into Israel. And for a soundtrack, jazz musicians Gilad Atzmon and Yaron Stavi step onstage to improvise an agonised Wain A Ramallah – that happy-clappy song used first at a family party, then to drown out the sounds of an execution and finally now to accompany the Palestinian people in their long journey into exile.
Now all that is left are bedraggled refugees moving across stage recounting their tales of horror on their road to exile. A mother from Beit Natteef has lost her two sons, an old man takes a sprig of fig tree to remind him of the smell of home, and a young woman carries her dead baby girl in her arms insisting she’s still alive:
My daughter cannot die now to be buried on the road of exile. She cannot be put in a grave on a nameless road? How can I come and visit her tomorrow?
And, for the last time, Nizar and Shadia sing. I don’t know any Arabic but even I know what biladi means. I also know what Deir Yassin means and I know that I heard that name in the extra verse added to his composition by Nizar especially for the occasion.
That night I thought back on all that I had seen. One scene kept coming back to me - a dramatization of an incident from the memoirs of Yitzhak Rabin. Some Haganah commanders go to see Ben-Gurion in his office. They’ve captured some villages in the Galilee and they don’t know what to do next. “Prime Minister,” they ask, “What is to be done with these people?
Without a word Ben-Gurion stands and, with a sweep of his hand he gives them their answer and their orders.
Sitting in that audience and watching Ben-Gurion consign an entire people into exile reminded me of an old Jewish story: A man goes to his rabbi. “Rabbi, how can I believe in the Holy Books? After all, they tell us things like Moses raised his hand and the waters of a mighty sea parted. Who can believe such nonsense?” “Listen”, says the rabbi. “Just one week ago the Czar with his pen signed a decree clearing out the inhabitants of some Jewish villages to make way for a new railway. Perhaps in days to come people will say ‘With one drop of ink, the Russian Czar drowned a thousand villages.’”
So will Palestinians perhaps one day, when telling their children of the Nakba say how, with but a wave of his hand, a Jewish captain drove one million Palestinians from Palestine? Who knows? But one thing is for sure: the Jewish narrative has, for years, been used and abused in the service of Zionism and of Israel. It has long been the role of Deir Yassin Remembered, now joined by Deir Yassin Day, to piece together and tell a truthful and meaningful Palestinian narrative. Deir Yassin Day 2006 and the performance of this remarkable play How Palestine Became Israel did just that.
Paul Eisen is a director of Deir Yassin Remembered
http://altahrir.blogspot.com/2006/05/with-but-wave-of-his-hand.html
How Palestine Became Israel - Deir Yassin Day 2006
Bloomsbury Theatre – Sunday April 9th /Monday April 10th
By Paul Eisen
How Palestine Became Israel, part of the Deir Yassin Day 2006 commemorations, was performed at the Bloomsbury Theatre in London’s West End on 9-10 April, and directed by British-Palestinian playwright/director Razanne Carmey and Dan Coleman.
Carmey traveled to Palestine to meet theatre groups from towns, cities and refugee camps, and to run a playwrights’ competition, the winner’s work to be showcased at DYD 2006.
How Palestine Became Israel was a compilation of four pieces: In Our Own Little World and Friday Morning by Carmey, The Water Urn by Issa Abu Srour, and Far Away from a Nearby Village by Abdel Fattah Abu Srour, who won the playwrights competition.
The production opened to a packed house with Ahmad Masoud and the al-Zaytouna Dabke Group but then, somewhat primed for a nostalgic evening of song and dance, we heard a little more than we had bargained for:
Ladies and Gentlemen, the members of the Al-Zaytouna Dance Group are from Brouj, Majdal, Deir Snaind and Jaffa but they have never been there. They were born and raised in refugee camps in the Gaza Strip. The reason for this is that their country no longer exists. This is what happened.”
With a call to prayer this story begins. So much of this piece takes place in that hour before dawn. In that hour, members of the family from the Palestinian village of Sindyana reflect on their lives and loves – the joys and sorrows of family life whilst at that same hour, on the other side of the stage the Zionist leadership plans and plots to steal the land. Zionists pore over maps of Palestine and, focussing on the Haifa district, they discuss the village of Sindyana – its past, present and its future and they fix on a name more suitable for that future. Sindyana, they discover, means ‘tall oak tree’ which in Hebrew is alon, so why not call the new village Alona?
Meanwhile, at the other end of the stage, Maleeha, a Palestinian mother writes to her son, oblivious of the tragedy about to overtake her. And not once does either side look at the other – not even a glance as the Jews, seemingly oblivious of the horror they are about to do and the Palestinians, equally oblivious of the horror about to be done, both go about their business. Thus was Palestine lost.
All this is given hard-edged backing as maps and plans on the one side (we see on the map that ominous transformation of the name Sandyana into Alona) and family snapshots and letters on the other are, by projected images, shared with the audience.
“Don’t talk to me about your father” writes Maleeha and soon her no-good, lute-playing husband appears played by Palestinian composer and lutist Nizar Issa who, with singer/songwriter Shadia Mansour charts this narrative with music and song woven intricately into the storyline. The songs are a treat: Assmar el Lone (For She is Dark and Comely) Rosana-(a love song), another song of the ubiquitous cactus of Palestine which, even when cut, will always return, the songs Jaffra and Dalouna, and finally the oft-repeated Wain A Ramallah. But it is with the entrance of David Ben-Gurion that this production first goes up a notch.
Immaculately played as an irascible and hyperactive trades union official who, having abandoned his Jewish god and now worshipping a new deity – a god of Socialism, collectivism and Zionism, Ben-Gurion is a man who ‘knows’. He ‘knows’ what is best for the workers of the world, he ‘knows’ what is best for the Jews of Europe and he certainly ‘knows’ what is best for the Palestinians of Palestine.
Nor need there be any moral obstacles to the Zionist takeover.
Zionism must and will not impinge upon one degree of legitimate Arab rights.
… We do not recognise absolute ownership of any country. The only right by which a people can claim to possess a land is the right conferred by willingness to work. Palestine is still undeveloped… Since the Jewish labourer is more intelligent and more diligent than the Arab, then the land is ours.
How convenient, because in this beautifully drawn character of Ben-Gurion we see the whole semi-conscious, self-delusional morality of the entire Zionist enterprise … and its inevitable moral collapse.
Act one closes and the darkness looms. A young wife bewails her miscarriages whilst Ben-Gurion and his comrades bemoan that, after nearly sixty years of building the Jewish state, the Jews are simply not coming.
Where are the Jews? Where are the Jews? Why don’t they come? We’re creating a Utopia here! Where are the Jews?
The hard truth is that in order to secure the necessary two-thirds Jewish majority they need to lose one million Palestinians, but how?
Don’t be coy. We all know what must be done… We need a few massacres – highly publicised, newspapers with stories of death, rape and burning. As soon as you shoot a few in the village square – that’s how you empty a village.
Perfect. And, best of all, no-one’s morality need be compromised.
No-one needs to give the order. When the soldiers are hot enough there is no need to give an order.
So now massacre is the order of the day. Friday Morning, scripted by Razanne was first performed five years ago at Deir Yassin Day 2001. Set in the village of Deir Yassin itself, a father is led outside his home to be shot whilst his wife and child sing Wain A Ramallah to drown out the sounds of his execution.
Shocked, we prepare for the climax: an animated image of the march of ethnic cleansing across the map of Palestine. As the map steadily turns pink, Arab Palestine transforms itself into Jewish Israel, accompanied all the time by flashing pinpoints of light – each of the seventy known massacres making its own special contribution to turning Palestine into Israel. And for a soundtrack, jazz musicians Gilad Atzmon and Yaron Stavi step onstage to improvise an agonised Wain A Ramallah – that happy-clappy song used first at a family party, then to drown out the sounds of an execution and finally now to accompany the Palestinian people in their long journey into exile.
Now all that is left are bedraggled refugees moving across stage recounting their tales of horror on their road to exile. A mother from Beit Natteef has lost her two sons, an old man takes a sprig of fig tree to remind him of the smell of home, and a young woman carries her dead baby girl in her arms insisting she’s still alive:
My daughter cannot die now to be buried on the road of exile. She cannot be put in a grave on a nameless road? How can I come and visit her tomorrow?
And, for the last time, Nizar and Shadia sing. I don’t know any Arabic but even I know what biladi means. I also know what Deir Yassin means and I know that I heard that name in the extra verse added to his composition by Nizar especially for the occasion.
That night I thought back on all that I had seen. One scene kept coming back to me - a dramatization of an incident from the memoirs of Yitzhak Rabin. Some Haganah commanders go to see Ben-Gurion in his office. They’ve captured some villages in the Galilee and they don’t know what to do next. “Prime Minister,” they ask, “What is to be done with these people?
Without a word Ben-Gurion stands and, with a sweep of his hand he gives them their answer and their orders.
Sitting in that audience and watching Ben-Gurion consign an entire people into exile reminded me of an old Jewish story: A man goes to his rabbi. “Rabbi, how can I believe in the Holy Books? After all, they tell us things like Moses raised his hand and the waters of a mighty sea parted. Who can believe such nonsense?” “Listen”, says the rabbi. “Just one week ago the Czar with his pen signed a decree clearing out the inhabitants of some Jewish villages to make way for a new railway. Perhaps in days to come people will say ‘With one drop of ink, the Russian Czar drowned a thousand villages.’”
So will Palestinians perhaps one day, when telling their children of the Nakba say how, with but a wave of his hand, a Jewish captain drove one million Palestinians from Palestine? Who knows? But one thing is for sure: the Jewish narrative has, for years, been used and abused in the service of Zionism and of Israel. It has long been the role of Deir Yassin Remembered, now joined by Deir Yassin Day, to piece together and tell a truthful and meaningful Palestinian narrative. Deir Yassin Day 2006 and the performance of this remarkable play How Palestine Became Israel did just that.
Paul Eisen is a director of Deir Yassin Remembered
http://altahrir.blogspot.com/2006/05/with-but-wave-of-his-hand.html
24 February, 2009
رابطة المسرحيين الفلسطينيين
عقدت الهيئة الادارية المنتخبة لرابطة المسرحيين الفلسطينيين يوم أمس جلستها الأولى في مقر مسرح صندوق العجب برام الله وذلك بكامل هيئتها وناقشت مجموعة من المواضيع التي تهم الحركة المسرحية الفلسطينية وخطة عمل الرابطة لرفع وتطوير الحركة.
وقد أقرت الهيئة الادارية توزيع المناصب الادارية وذلك على النحو التالي:-
1. د.عبد الفتاح أبو سرور: رئيسا
2. عماد متولي : أمينا للسر
3. ايهاب زاهدة : أمينا للصندوق
4. أحمد أبو سلعوم : ناطقا رسميا وأمين الثقافة والاعلام
5. عامر خليل : دائرة العلاقات الدولية
6. فالنتينا أبو عقصة دائرة العلاقات الداخلية
7. نضال الخطيب دائرة العلاقات الاجتماعية
8. حسام ابو عيشة : دائرة العلاقات الفنية والمهرجانات
9. اسامة ملحس : دائرة المنشورات والثقافة
وأقرت الهيئة الادارية تشكيل لجنة مكتب تنفيذي من الفنانين: عبد الفتاح ابو سرور، أحمد أبو سلعوم، عماد متولي، نضال الخطيب، عامر خليل.
وثمنت الهيئة الادارية التزام اعضاء الهيئة العامة في جلسة الانتخابات وشكرت لهم الصورة الحضارية التي تمت بها الانتخابات ووعدت بالعمل الجاد لما فيه مصلحة المسرح الفلسطيني وفنانيه.
02 January, 2009
Gaza in the Sea - Gaza dans la Mer
Gaza in the Sea
What would you like to see?Gaza sinking in the sea?
And for each hill and colony announce
What a triumph against terrorism?
We manage to kill a potential nuisance
And world close your eyes, dearest egoism
Don't dare to look, Watch but lose your sense
Those people are no humans, Let's debate!
They are not like us… they are full of hate
Their blood is blue like our noblesse
Their shit is white, like our faces
Their screams are melodies we play on holidays
How joyful to hear them crying loud, he says
They see like owls, and illuminate in the dark,
Cut out electricity, kill the trees in each park
They breath nothingness, so keep them in emptiness
Let's make their nights days in flame
And make their silence explode in joy
That keeps the world entertained and stays humane
And send messages of protest to every deaf and blind
On this planet earth and the lands of braves so kind
Let's stay hopeful that we remain insane
Let's send a shipment of food and milkWould they prefer fabric or silk?
Maybe chocolate on biscuit bars
French Chocolate or Belgian, or that's of Uncle Sam?
Let's feel pity because we can do nothing
Let's make a prayer and go and bring
A big new camera to film our tears
And say high and loud we have practiced our humanity
In feeling with the poor and the needy
But at the end of the story,What is happening with this tireless oppressor?
Who continues to violate every right, every law?
Every life, every hope, every dream and every faith
What a change would be hoped for if life is worthless
If right and wrong are continuously married in a vampire ceremony
And what make of the humanity what it is
Is nothing but pure heresy and old history?
Look my son, and feel the pain
This is wrong, this is inhumane
Continue to write, to speak to resist
Injustice, occupation whatever is the risk
Israel is the occupier and it commits war crimes
And this entire silent world is complicit
Don’t humiliate us with charity, or humanitarian aid
Be respectful and support justice, dignity and humanity
Do they think we care when we die
To have our stomach full or empty?
My tears are innocent to my eyes
They refuse to fall on my dry cheeks
------
Gaza dans la mer
Qu’aimeriez-vous voir ?Gaza submergé dans la mer ?
Ainsi vous pouvez sauter, chanter et danser
et pour chaque colline et colonie annoncez :
Quel triomphe contre le terrorisme ?
Nous parvenons à tuer un ennui potentiel
et toi monde, ferme tes yeux, mon plus cher égoïsme
n'osez pas regarder, observe mais perdre votre sens
Ces gens là ne sont pas humains, qu’on en discute !
Ils ne sont pas comme nous… Ils sont pleins de la haine
Leur sang est bleu comme notre noblesse
Leur merde est blanche, comme nos visages
Leurs cris perçants sont des mélodies que nous jouons en vacances
Comme c’est joyeux les entendre pleurer fort, il dit
Ils voient comme des hiboux, et illuminent dans l'obscurité,
Coupez l'électricité, mettez à mort les arbres de forêts
Ils respirent le néant, gardez-les dans le vide
Faisons de leurs jours des nuits en flamme
Faisons que leur silence s’éclate de la joie,
Qui maintient le monde amusé et humanitaire
Et envoyons des messages de protestation à chaque aveugle et sourd
Sur la planète Terre et les terres de braves et gentils
Restons plein d'espoir que nous restons fous
Envoyons une expédition de nourriture et de lait
Préféreraient-ils le tissu ou la soie ?Peut-être le chocolat ou le biscuit
Du chocolat Français ou Belge, ou celui de l'oncle SAM ?
Qu’on ait pitié- parce que nous ne pouvons rien faire
Faisons une prière et aller apporter
Un nouveau grand caméra pour filmer nos larmes
Et dire haut et fort que nous avons pratiqué notre humanité
En sentant avec les indigents et le nécessiteux
Mais à la fin de l'histoire, Que se passe-t-il avec cet oppresseur inlassable ?'
Qui continue à violer chaque droite, chaque loi ?
Chaque vie, chaque espoir, chaque rêve et chaque foi
Quel changement serait espéré si la vie est sans valeur
Si le droit et le faux sont mariés sans interruption dans une cérémonie de vampires
Et Qu’est-ce qui fait de l'humanité ce qu’elle estn’est rien qu’hérésie pure et une histoire de passé ?
Regarde mon fils, et sens la douleurCeci est mal, ceci est inhumaine
Continue à écrire, à parler et à résister
Contre l'injustice, l’occupation quelque soit le risque
Israël est l'occupant et il commet des crimes de guerre
Et ce monde silencieux est complice
Ne nous humiliez pas avec la charité, et vos aides humanitaires
Soyeux respectueux et soutenez la justice, la dignité et l’humanité
Pensez-vous qu’on s’en fou lorsqu’on meurt
Si on a le ventre vide ou plein
Mes larmes sont innocentes à mes yeux
Ils refusent de tomber sur mes joues sèches
================
Abdelfattah Abusrour, PhDAshoka Fellow
Director of Alrowwad Cultural and Theatre Training Center
January 23, 2008
01 January, 2009
Alrowwad in Austria, Linz in April 2009
Performances in Linz
Theatre inflames, provokes, causes excitement. The spark leaps across, schools in the region and international youth groups catch it on the wind and fan it into flames.
Of all school projects, drama mobilises the most commitment and creates the greatest enthusiasm. Often it deals with today’s most relevant topics, truly explosive matter. This project, which has so far been confined exclusively to Upper Austrian school and youth drama groups, will look beyond our borders in Capital of Culture year. As a City of Peace, Linz will invite drama groups from regions that are marked by the harshness of their political, social or societal climate. Together with ten Upper Austrian troupes selected by an expert jury these children and teens will put on a varied and exciting programme over four days, which will be of interest not only to their peers but also to culturally inclined grown-ups. Workshops lasting for several days conducted by renowned international artists will supplement the festival’s programme and foster exchange between individual troupes. Two guest productions will make ZÜNDSTOFF a forum where young people from the most disparate backgrounds, cultures and traditions meet. For Linz this is an opportunity to make one more contribution to cultural and societal dialogue and to add to ist reputation as a City of Peace.
Of all school projects, drama mobilises the most commitment and creates the greatest enthusiasm. Often it deals with today’s most relevant topics, truly explosive matter. This project, which has so far been confined exclusively to Upper Austrian school and youth drama groups, will look beyond our borders in Capital of Culture year. As a City of Peace, Linz will invite drama groups from regions that are marked by the harshness of their political, social or societal climate. Together with ten Upper Austrian troupes selected by an expert jury these children and teens will put on a varied and exciting programme over four days, which will be of interest not only to their peers but also to culturally inclined grown-ups. Workshops lasting for several days conducted by renowned international artists will supplement the festival’s programme and foster exchange between individual troupes. Two guest productions will make ZÜNDSTOFF a forum where young people from the most disparate backgrounds, cultures and traditions meet. For Linz this is an opportunity to make one more contribution to cultural and societal dialogue and to add to ist reputation as a City of Peace.
MARKET THEATRE: THURSDAY’S CHILD
Th ursday ’s Child is a play that deals with abuse, rape and prostitution. Maroleng has been abandoned by her mother. Left to her own devices she experiences all the horrors of life in the gutter. The production, with its student cast from Township Alexandra near Johannesburg, won the first prize out of more than forty entries at one of South Africa’s most important theatre festivals, the Zwakala.
CONCEPT / DIRECTOR //Ntshieng Mokgoro
ALROWWAD THEATRE AND DANCE GROUP:
1. WE ARE THE CHILDREN OF THE CAMP &
2. BLAME IT ON THE WOLF
Alrowwad Theatre and Dance group consists of 14 girls and boys aged between 10 and 18, with another four girls bringing up the chorus. The Palestinian youth theatre troupe will bring two productions to Linz.
WE ARE THE CHILDREN OF THE CAMP presents the Palestinian perspective on the historical background of their country’s occupation.
BLAME IT ON THE WOLF uses the material of classic fairy stories and deconstructs it to reveal a content that is radically different from the prima facie interpretation. What was considered as established fact suddenly turns out to have been false all along and other backdrops come into view. In other words, what is presented is an object lesson warning of the dangers of premature conclusions, which are liable to be misleading.
CONCEPT / DIRECTOR : Abdelfattah Abusrour
WHAT : School drama festival
WHEN : 15 – 18 April 09
WHERE : Hafenhalle09, Landestheater Linz, Theater des Kindes im Kuddelmuddel, Theater Phönix
Zündstoff, Linz 09, www.zuendstoff.at
In collaboration with Verein Zündstoff
Gaza ground zero 2009
Gaza ground zero 2009
One, two, ten, one hundred…. The rain falls and the news are loud… no space is safe… no shade to hide… Hell is all around.
Two hundred thirty, three hundred, three hundred and ninety… the race is going on… numbers are counted… houses, schools, mosques, industries, and human beings…
The beggars are begging… the needy are crying… practice your humanity people… shed some tears… have pity… donate a little or much for such a humanitarian cause…. Demonstrate in the streets… rise your voice… protest… practice your humanity and don’t be a complicit with injust and war crimes….
The eloquent speakers speak. The great or little politicians are on the microphones. The camera films and the cameramen are posted everywhere the bombs sing and the victims dance and fall in blood baths or under the ruins of their houses or in prayers or even in the schools. The writers have found moving themes to write about. The singers are more emotional than ever. The artists are more inspired than ever. The generous people are donating, and humanitarian aid is on the way.
The ugliness is uglier than ever. The shame is greater than ever. Helplessness is enveloping what remains of our humanity. Shamelessness is the only menu on the table of the UN, International politics and agendas. Complicity is the daily bread of international community and defenders of so-called human rights and international law… and “Israel has the right to defend itself” is the only slogan in international and Israeli rhetoric.
Israel has the right to defend itself! What does this mean? Erase a whole nation? Palestinians have no right to defend themselves? Palestinians don’t have the right to live, as free human beings, and to practice this freedom and humanity on their “Occupied” land. Israel continues occupying a whole Palestine, close cities, to forbid free movement for people, to decide who can live where, to decide when one can get married or not, with whom one can fall in love, and when one can pass a checkpoint and get out of his/her home. Israeli “care” is killing us.
“They have the right to defend their civilians” great news for a state composed of an army, where every civilian is a trained soldier (except for few hundreds of brave young people who dare to refuse to serve in such army of occupation). This so-called only democratic state in the middle state, has no defined borders, no defined map, no constitution, no respect to international law or human rights or Forth Geneva Convention, and wins the sympathy by a programmed media war… Europe is compensating her by awarding her with discussing upgrading relations and the US with more funding and sophisticated weapons and protection against any international punishment. Gaza and the West Bank is the big animal laboratory for every trial of new weapons.
“Enough is Enough” declares a monster in the shape of a woman, who tries to exceed in her terrorism all those who preceded her and compete with her to lead Israel from illegality to illegality, destruction to destruction, crimes against humanity to crimes against the so-called human rights and international law. Name any Israeli prime minister who ruled Israel and have no history in terrorism. Name any prime Minister who in order to win elections or please the national opinion do not express themselves except by killing us? Please do….
“Enough is Enough” she says. What should we say after 60 years of occupation and humiliation and programmed killing, stealing and destruction of Palestinian people, properties and infrastructures? Don’t we have that right as well to say “Enough is Enough”? Don’t we have the right to hold Israel and the Great Britain for responsible of all the crimes committed against us under the British Mandate and Israeli occupation?
I am bitter and enraged. I have such anger in me, as I guess in everyone who still has a bit of humanity and justice and respect to human values. One remains stuck in front of TV screens and sees the level of degradation humans can reach, and carelessness and complicity with injustice and infraction of every value that make of us human beings.
Tears are ashamed to fall down… Our wounds are blood red of humiliation... Are we looked at only as numbers? Should all those who are massacred remain only as figures without a name or a face? Don’t they deserve to be known, and their story to be told, and the crime they committed to deserve to be killed in such way?
We are Palestinians, and I can say that we are losing our creativity in facing death and Israeli criminal arrogance. We are losing our inventive methods in dealing with international complicity with injustice and continuous policies of conditioning us to accept realities on the ground. We have no more alternative ways to find justification to accept international and Israeli dictation of a code of behavior that only erase our humanity and identity, and transform us into faceless slaves. We find no possibility to accept justifications presented by the Palestinian authority for its incapacity to protect us, with all these endless negotiations and agreements and promises. May the president of this authority resolve this authority, at least the whole world can see that we are still under Israeli occupation. Our Palestinian authority has no authority on anything, except maybe running behind some kids who try to throw stones at the tours of Israeli snipers in their 24 or 30 feet high wall tours.
Since years, I ask myself: Why do you Israelis hate yourself so much that you force everyone who has a sense of justice to hate you? We were not born and we were not raised to hate, to destroy and to kill. We do not want this hate. Spare us your lies and crimes and threats and your lessons of wisdom. Spare us your hatred, your terrorism, and your massacres. Take your hatred with you and leave. Take your terror with you and leave. Take your walls with you and leave.
Spare us your generosity in allowing some humanitarian aid to filter in Gaza. We do not want your pity and you charity. We do not want anyone’s pity or charity. We do not want you to have a justification to continue your crimes. Spare us your tears and your charity actions, and leave us to die in dignity… Do you think we care when you bombard us and while we are dying whether we die the stomach full or empty?
Gaza is burning. Gaza is in fire. The Israeli war is not against Palestinian people but against Hamas they say. The Israeli bombardments are surgical and precise they say. They are so precise that they kill school boys in UNRWA schools, and kill entire families and 4 months old babies… Spare us your precision please. Name please one international law that can give you this right of collective punishments and massacres?
People all over the world are filling the streets demonstrating with slogans of protest, and accusations to the international silence everywhere. They express their humanity and emotions of refusal to the degradation of human values. They express their solidarity with the tortured spirits. But for those who remain silent, those who do not care, I hope you will look tonight in the mirror, and look deep and ask yourself: If your child came to you tonight or tomorrow or in ten or twenty years and asked you: what did you do to make a change?
The year closes its doors, and the New Year opens new gate…. What will be our first steps?
May your tomorrow be better than our today… may your children and all those you care about find the peace they deserve as human beings… We remain despite the jungle we are forced to live in human beings who defend their humanity even in such conditions…
May you live in peace…. With a capital P, like Palestine….
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